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Inscription

lower right: EAKINS

Provenance

Susan Macdowell Eakins [Mrs. Thomas Eakins, 1851-1938], Philadelphia; Millicent Rogers [1902-1953], New York; her son, Count Peter A. Salm, New York;[1] sold 29 April 1983 through (Lothar Dohna, New York) to Mr. and Mrs. H. John Heinz III, Pittsburgh, Pennsylvania; gift 1991 to NGA.

Exhibition History
1905
Tenth Annual Exhibition, Carnegie Institute, Pittsburgh, 1905, no. 67.
1907
Annual Exhibition of Oil Paintings, American Art Society of Philadlephia, The Haseltine Art Galleries, Philadelphia, 1907, no. 1.
1912
One hundredth and seventh Annual Exhibition, Pennsylvania Academy of the Fine Arts, Philadelphia, 1912, no. 201.
1939
Exhibition of Paintings by Thomas Eakins, Kleemann Galleries, New York, 1939, no. 11.
1944
A Loan Exhibition of the Works of Thomas Eakins, M. Knoedler and Co., New York, 1944, no. 76.
1991
Art for the Nation: Gifts in Honor of the 50th Anniversary of the National Gallery of Art, National Gallery of Art, Washington, D.C., 1991, 274-275, color repro.
1993
Thomas Eakins (1844-1916) and the Heart of American Life, National Portrait Gallery, London, 1993-1994, no. 45, repro.
Bibliography
1907
American Art Society. Annual Exhibition of Oil Paintings. Exh. cat. Haseltine Art Galleries, Philadelphia, 1907: repro. 1.
1930
Goodrich, Lloyd. "Thomas Eakins, Realist." Pennsylvania Museum Bulletin 25 (March 1930): 30, no. 273.
1944
A Loan Exhibition of the Works of Thomas Eakins 1844-1944. Exh. cat. M. Knoedler & Co., New York, 1944: repro. 76.
1946
McHenry, Margaret. Thomas Eakins, Who Painted. Privately printed for the author, Oreland, Pennsylvania, 1946: 117-119.
1974
Hendricks, Gordon. The Life and Work of Thomas Eakins. New York, 1974: 255-256, repro. 256.
1982
Goodrich, Lloyd. Thomas Eakins. 2 vols. Cambridge, Massachusetts, 1982: 2:208-211, repro. 209.
1993
Wilmerding, John, et al. Thomas Eakins (1844-1916) and the Heart of American Life. Exh. cat. National Portrait Gallery, London, 1993: 166-167, repro. 167.
1996
Kelly, Franklin, with Nicolai Cikovsky, Jr., Deborah Chotner, and John Davis. American Paintings of the Nineteenth Century, Part I. The Collections of the National Gallery of Art Systematic Catalogue. Washington, D.C., 1996: 182-185, color repro.
Technical Summary

The support is a medium-weight, plain-weave fabric that has been lined. A note in the NGA curatorial files states that before 1930 the initials T.E. were visible on the back of the canvas, which suggests that the present lining was added at about that date. The ground is white. The paint was applied with a uniformly fluid texture; because much of it was applied wet-into-wet, there is no complicated layer structure. Three cracks are visible, the longest in the top left corner. A horizontal line of old damage is apparent in the bottom left corner as is scattered inpainting. Small cracks and spots of abrasion occur throughout the more thinly applied areas, in addition to scattered small losses. A small fill above the sitter's right shoulder has been inpainted with mismatched paint, and inpainting is also visible in the hair just above that shoulder. A thinly painted area to the left of the sitter's forehead has been strengthened with a reddish brown glaze, and damage in the third button from the top on the left side of the sitter's jacket has been inpainted. The varnish has become moderately discolored.